#and no one would ever forgive Hugo

[sitpwgs]

books read in 2024!

books read so far: 81/100

— gr: http://goodreads.com/cossettereads — sg: https://app.thestorygraph.com/profile/cossettereads

as always, askbox + dms are open if have any questions or would like to chat about books! 🤍

⊹ indicates any (new) favorites of the month! previous months are under the cut!

july ⋆ ˚｡⋆౨ৎ

1) firekeeper's daughter by angeline boulley (audiobook) ⊹ 2) born to run by bruce springsteen (audiobook) 3) it had to be you by eliza jane brazier 4) the great gatsby by f. scott fitzgerald (reread; annotated) 5) death on the nile by agatha christie (audiobook) 6) blue sisters by coco mellors (arc) ⊹ 7) juniper and thorn by ava reid (audiobook) 8) the villain edit by laurie devore ⊹

january ⋆ ˚｡⋆౨ৎ˚

1) beach read by emily henry (reread) 2) on palestine by noam chomsky & ilan pappé 3) valley verified by kyla zhao (gifted) 4) the wind at my back: resilience, grace, and other gifts from my mentor, raven wilkinson by misty copeland & susan fales-hill (gifted) 5) check please: year one by ngozi ukazu (reread) 6) check please: year two by ngozi ukazu (reread) 7) check please: year three by ngozi ukazu (reread) 8) check please: year four by ngozi ukazu (reread) 9) raiders of the lost heart by jo segura (gifted) 10) the frame-up by gwenda bond (arc) 11) everything i never told you by celeste ng ⊹ 12) forgive me not by jennifer baker (gifted) 13) ever after always by chloe liese (gifted) 14) the summer of bitter and sweet by jen ferguson (gifted) 15) the lily of ludgate hill by mimi matthews (gifted) 16) last call at the local by sarah grunder ruiz (gifted) ⊹ 17) the sun and the void by gabriela romero-lacruz (gifted) 18) a line in the dark by malinda lo (gifted) 19) biting the hand: growing up asian in black and white america by julia lee (gifted) 20) play it as it lays by joan didion

february ⋆ ˚｡⋆౨ৎ˚

1) mister hockey by lia riley * 2) collide by bal khabra (arc) * 3) a curious beginning by deanna raybourn (gifted) 4) breaking the ice by k.r. collins * 5) if only you by chloe liese (gifted) * 6) anxious people by frederik backman ⊹ 7) the catch by amy lea (gifted) 8) weekends with you by alexandra paige (arc) 9) happily never after by lynn painter (arc) 10) klara and the sun by kazuo ishiguro 11) good material by dolly alderton 12) in the event this doesn't fall apart by shannon lee barry 13) the night ends with fire (arc) by k.x. song 14) the good, the bad, and the aunties (arc) by jesse q. sutanto 15) where sleeping girls lie (arc) by faridah àbíké-íyímídé 16) sophomore surge by k.r. collins * 17) lighting the lamp by k.r. collins * 18) glove save and a beauty by k.r. collins * 19) home ice advantage by k.r. collins * 20) power play by k.r. collins * 21) grounded by k.r. collins * 22) line chemistry by k.r. collins *

march ⋆ ˚｡⋆౨ৎ˚

1) happy medium by sarah adler (arc) 2) a darker shade of magic by v.e. schwab (audiobook) 3) expiration dates by rebecca serle (arc) 4) divine rivals by rebecca ross (book club) 5) the siren by katherine st. john (gifted) 6) light in gaza edited by jehad abusalim 7) how to end a love story by yulin kuang (arc) // reviewed here 8) rising from the deep: the seattle kraken, a tenacious push for expansion, and the emerald city's sports revival by geoff baker 9) les misérables by victor hugo (reread)

april ⋆ ˚｡⋆౨ৎ˚

1) the goodbye cat by hiro arikawa (reread) 2) the traveling cat chronicles by hiro arikawa (reread) 3) this is me trying by racquel marie (arc) 4) kill her twice by stacey lee (arc) 5) the pairing by casey mcquiston (arc) 6) swiped by l.m. chilton (arc) 7) lies and weddings by kevin kwan (arc) 8) the odyssey by homer (audiobook)

may ⋆ ˚｡⋆౨ৎ˚

1) this summer will be different by carley fortune (arc) 2) the viscount who loved me by julia quinn (reread) 3) romancing mister bridgerton by julia quinn (reread) 4) the iliad by homer (narrated by audra mcdonald) (audiobook) 5) a novel love story by ashley poston (arc) 6) when he was wicked by julia quinn (reread) 7) a banh mi for two by trinity nguyen (arc) 8) the secret garden by frances hodgson burnett (audiobook)

june ⋆ ˚｡⋆౨ৎ

1) lessons in chemistry by bonnie garmus 2) the phantom of the opera by gaston leroux (audiobook) 3) you, with a view by jessica joyce 4) s. by j.j. abrams & doug dorst 5) the hunchback of the notre dame (audiobook) A

[cometomecosette]

Once again, I'm feeling sad about Jean Valjean's flaws as a parent. I forgive him, but Cosette deserves better.

Of course, the way most adaptations present it, even the musical to an extent – "He's a controlling father who isolates Cosette from the world and needs to let her go" – is a vast oversimplification. The novel's Valjean always tries to make Cosette happy, is never harsh or overtly controlling, and tries to give her as full, free, and normal a life as his status as an ex-convict allows. But recent posts in Les Mis Letters by @secretmellowblog and others have reminded me of the subtler, more insidious ways that he arguably becomes her "jailer” (as SparkNotes says), keeps her "chained to his side” (as a recent post says), and prevents her from living her life to the fullest.

Of course, the most glaring problem is his jealousy of Marius and his efforts to separate Cosette from him, which causes Cosette so much pain that she doesn't even feel free to express. If it were a matter of protecting Cosette from a possible predator or cad, it would be more sympathetic, but instead of thinking of the danger this young stalker might pose to her, he makes it all about himself and his fear of losing her. In his private thoughts, he seems to view complete, exclusive possession of Cosette’s love and attention as a reward that he deserves for all his past suffering. He left the convent earlier because he knew it would be wrong to deny freedom to Cosette by keeping her there and making her become a nun, but then when the possibility of her falling in love and leaving him arises, he deeply regrets having left.

Meanwhile, there are other problems too that aren't Marius-related. Valjean's chronic guilt and lack of self-care unintentionally force Cosette to be his caregiver, in a way that's not natural for a child to be to a parent. He keeps so many secrets from her and avoids important conversations, ostensibly to protect her from pain, but probably more to avoid pain himself. And Cosette's docile, conflict-avoidant, sadness-swallowing tendencies mirror Valjean's own, so she's arguably learned unhealthy habits from him. Although it's debatable whether she behaves that way just because she sees her father do it, or because she has a traumatic past too, even though she doesn’t consciously remember the Thénardiers.

Even Valjean’s gesture of giving Cosette the main house at Rue Plumet with all its luxuries while he lives in the porter's cottage, letting her be the active mistress of the house who does all the money management... While on the surface it's a loving, generous, empowering gesture (as well as practical for him, since it lets him keep a lower profile), I suppose it can also be seen as giving her too much responsibility at too young an age. In a way, he doesn't want her to grow up, and does what he can to prevent it; but at the same time, he unintentionally makes her grow up too fast and be a (platonic) wife, mother, and daughter to him all in one.

Cosette deserves so much better than that.

I can’t even take my usual approach to plot points in the novel that I don’t like – preferring the musical – because I don’t think the musical is any better. Yes, it omits Valjean’s jealousy of Marius and his attempt to separate Cosette from him, and yes, it omits details like Valjean refusing to see a doctor for his wound and Cosette having to nurse him alone. But the song “In My Life” emphasizes Cosette’s loneliness and yearning for answers, which Hugo’s Cosette doesn’t feel until she’s separated from Marius, and it has Valjean explicitly refusing to tell her about the past, when in the novel she hardly ever asks, and when she does, he just sadly smiles and says nothing at all. The 2012 film drives home the point even further with its repeated symbolic imagery of Valjean closing windows and doors, and with Cosette and Marius singing "A Heart Full of Love" separated by the garden gate's prison-like bars.

My rational mind knows that all these problems are realistic and necessary for the plot. There's no such thing as a perfect parent. Whether intentionally or not, all parents hurt their children. Besides, it's important for a protagonist to have flaws. All of this is what saves Valjean from being an insipid saint in his old age. If he weren't possessive of Cosette and didn't block her romance with Marius at first, then his later heroic rescue of Marius for Cosette’s sake wouldn't be meaningful; there would be nothing redemptive about it.

My rational mind also knows that it's wrong to put all the blame on Valjean for his mistakes. I even think some of the recent Tumblr posts about this subject have been too hard on him. After all, he has mental health problems that aren't his own fault. Also, his possessiveness isn't just a matter of not wanting to share Cosette; he must know all along that he can't possibly join another family as an in-law, so if Cosette marries, it will mean losing her completely. None of these problems would exist if he weren't an ex-convict, so ultimately, the unjust justice system is to blame.

Besides, Cosette is happy in their secluded life until Marius comes along. We can talk from an outside perspective about how unhealthy and what a gilded cage it is from the beginning, but Cosette doesn't agree: until she's separated from Marius, she's content. Why should Valjean assume she can't be happy again the way she was before?

But emotionally, it's not so easy to accept. While of course protagonists need flaws, some flaws are easier to forgive than others. For me, the harder-to-forgive flaws include any case of a parent emotionally hurting his child, or a male character emotionally hurting a female character who loves him, or any character whose love becomes self-absorbed and stifling to the loved one. Even if it's all done unwittingly and with good intentions, and even if the character redeems themself through selfless deeds later: my heart says they should have done better from the start. My heart says it's disgraceful that a man whose trauma revolves around imprisonment should become a "jailer" in any sense to his daughter. And it’s devastating that the bond Valjean and Cosette formed when she was a little girl, which was so beautiful, pure, and sweet, should become complicated, messy, and oppressive to Cosette in any way, no matter how much they still love each other through it all.

Sometimes, irrationally, I find myself thinking that maybe Valjean should have just left Cosette at the convent with a decent sum of money instead of adopting her; that maybe she would have been better off as a rich orphan. I know that's a ridiculous thought, but occasionally it crosses my mind.

I suppose the ideal Jean Valjean in my heart is neither the novel's Valjean, nor the musical's, nor any other adaptation's that I know. I'm not entirely sure how he would be different from those Valjeans, or how he would be a better father while keeping the plot intact and not becoming a dull saint. But somehow or other, he would still make mistakes where Cosette is concerned, yet less heartbreaking mistakes than in canon. For example, his concerns about Marius might be more focused on protecting Cosette from a potentially dangerous stalker than on his own self-centered feelings of not wanting to lose her. Maybe that would dilute Hugo's message, but this is my personal preferred version of the story, not his. I'm not saying I want to remove all the plot-essential conflict and turn Les Misérables into Les Happy Times, but is it wrong to see that Cosette deserves better and want to rewrite the story just enough to give her what she deserves?

[rewritingcanon]

next gen characters and their favourite parent 🫣

victoire: fleur but maybe only by a margin (very close, bill should not take it personally that victoire just specifically admires fleur more because they are more similar in character, she really loves her dad)

dom: bill because he let her get tattoos before she was 18 and he will brush her hair in the morning when she’s too tired to do it herself

louis: fleur because their mother would never allow louis to leave the house looking ugly and they really appreciate that

molly: percy, because they are similar in person and when he gives her approval it just makes her feel more satisfied yknow

lucy: audrey because her mother lets her get away with more stuff than her dad does, so she feels more comfortable being goofy with her than her dad

fred: george because his love language is irritating people and george will just give the same energy back without any qualms

roxanne: angelina, she feels they have a greater understanding between them and she goes to her mother for advice more often

james: ginny, he is the definition of a momma’s boy who would always go soft on her

albus: ginny, even though he feels he’s more similar to harry, sometimes ginny just saying shit as it is gives him a rare sort of calm he appreciates

lily: harry, she loves making her dad interested in anything and everything shes interested in and he’s always genuinely listening to her

rose: no. she genuinely has no preference she loves her parents the same. she is very consistent in her love for them

hugo: contrary to rose, it honestly depends on the day. ron will sneak him toffee and hot chocolate late on a saturday evening and hugo will deem him the favourite parent, the next day hermione buys him a squishmallow and she is

teddy: …andromeda

scorpius: even though he would rather keel over than ever think of liking one parent more than the other… he was closer with astoria growing up (due to their likeness she could bond with him easier), but obviously as scorpius grows up he gets closer with his dad, and he’ll have more experiences with him than he ever had with his mother.

lysander: rolf because he takes lysander all over the world to pursue his interests in geology. rolf will be trying to tame some swedish serpent whilst lysander is inspecting the pebbles in its cave and thats a normal father-son bonding time for them

lorcan: luna. lorcan has been illustrating for the quibbler since he was 13 because luna genuinely doesnt believe there is any other artist that can perfectly mirror the complexity of peculiar fantastical creatures as her son (it’s literally a stick figure)

alice: neville. she’s a daddy’s girl who has her dad wrapped around her finger. i mean, he loves her so much that he forgives her for hating gardening

frank: hannah. she forces him to help her fold the laundry with her and he hates it, but he still loves her (forcing him to help her with her chores just so she can spend more time with him, i see you hannah)

delphi: voldemort 😻😻 (she needs therapy immediately)

[mewtwoandme]

Welp, some last-minute plans were made, so I'm gonna be away for the weekend. I won't have much time to work on stuff. So how about we play a game? >:3

The majority of you know how this works, but in case some of you are new or new-er to this, here's the rules:

(I will be using numbers instead of emojis for this one because there are a lot of questions) Send the number of the question and the name of the character you want to ask.

(Example: Mewtwo #24)

These are the following characters that will be available for questions:

Mewtwo

Newtwo

Mew

Amber (be specific with either "child" or "teen/adult")

Blu (be specific with either "child" or "teen/adult")

Gwen

Lakota

Jay

Mandy

I'll also include my most common non-canon characters:

(Be specific with either "child" or teen/adult" for these 3)

Hugo

Emery

Sonya

Alrighty! Now, with all that out of the way. Enjoy yourselves and have fun! ^^

Do you have a driving dream or goal? What is it? How far would you go to achieve it?

What's the one thing that makes you angry? What's your temper like? How do you respond to people who make you mad?

Have you ever experienced desperation? How has it affected you? What do you do when something you need is out of your reach?

Do you believe in fate or destiny?

What's the greatest challenge you have overcome? How do you feel about it?

How well do you sleep? Do you have problems such as nightmares/sleep paralysis/insomnia/etc.

Do you have any comfort items?

If you had to pick one song to listen to for 10 hours straight, what would it be?

What is your pain threshold like? Will a stubbed toe take you down, or does it take something much more drastic?

Are you a binge watcher, or do you prefer to stretch shows out? What kind of shows do they like?

If you could only have one food for the rest of their life, what would it be?

Favorite food/drink?

Sweet or savory?

How do you like to unwind after a long day?

Would you consider yourself a lone wolf or a social butterfly?

Do you enjoy praise?

What is a secret you know but haven't told anyone

What are your quirks?

What mannerisms do you have when shy or nervous?

What is the most impulsive thing you've done?

Can you recall a time when you have been the most scared or fearful?

What would cause you to be petty or say something hurtful?

Would you consider yourself reckless or too cautious and/or paranoid?

Are you good or bad at lying?

What's a misconception people often make or think about you?

What's something people would find surprising about you?

What's something you get told all the time?

What is something people always tell you to do more of?

What is the one thing people assume about you that you wish wasn't true?"

How often do you put on a "happy face" when you're really not feeling it?

When do you think you began putting your guard up so much?

What do you find yourself justifying to people when no justification is needed?

Are people shocked when you stand up for yourself?

What emotion motivates you the most when you're feeling down?

Are you okay with disliking someone?

How do you cope with being betrayed?

What is your favorite way to channel your aggression?

Which parts of yourself do you still seek validation for?

What would you say is your biggest problem when communicating?

How do you make decisions? Would you say you rely on trusting your instincts and heart, or fact and logic?

How much respect do you have for authority?

What are your morals/ethics? Do you follow your moral code strictly?

How introspective are you, and how much do you self-reflect?

What event drastically changed your life? Do you resent that event, or are you glad of it?

How optimistic are you? Do you appreciate the smaller things in life?

Are you forgiving of yourself? How about others who have wronged you?

How do you deal with illness or pain? Would you soldier on with a broken arm or leg, or can a common cold put you out for days?

What is your fighting style?

Words or actions?

Are you the type of person who laughs when someone falls? Or would you rush to help?...or would you just walk past them with no reaction?

[whiskyarts]

I don’t like making Donella out to be the big evil but GOD I think she’s awful. She’s not magical, or wanting to take over the world. She’s just a bad person. She’s the kind to lean in Hugo’s face and tell him to stop being scared when even he didn’t know he was scared. She’s holding the vat7k kids hostage and showing Hugo off like a spectacle to Varian and he’s TERRIFIED, because she could tell Varian anything. She could tell him nothing, or she could tell him all the worst thing’s Hugo’s done that he hates. But she doesn’t, just to have that authority after him. She knew Ulla and Quirin, she knows their son would forgive Hugo in a heartbeat. So she dangles it over Hugo’s head and goes “I could ruin your life if I wanted to” without ever actually saying anything. Varian believes Donella is bad in the way that Zhan Tiri was bad, like a villain. Hugo knows she’s just an awful person who exploits others to advance herself -that one anon

In Hugo's life, she's definitely the biggest bad there is.

She was the best thing to ever happen to him when he was younger, then proceeded to become everything he's afraid of.

And everything he's afraid of being.

[el-moscorrofio-y-el-mercachifle]

Hiiii, I really like it when you share with us the thoughts you have about ysblf! What did you think of that second "meeting" between Patricia and Daniel? The one where she goes to his apartment after calling him out on her cell phone and he told her to resign (and minutes later she finds Aura Maria with Mario). I always see people talking about their first "date", which was at her apartment, but in my opinion this second one was much more disturbing. This one had more blackmail, manipulation and ab\/s3 involved, which made everything sadder. Not to mention the way Daniel treated Patricia afterwards, due to her logical reaction, him sending her away soon after, had a strong impact on her (which makes me wonder about her backstory, and if this has happened before with other people

It really irritates me that they didn't give much insight into Patricia's past, I think that would explain a lot about her).

ps: sorry if I made any mistakes, I'm translating using Google Translate

Hiii! Thank you for the ask!! Don't worry about mistakes, this was very good!😊

Oh, that scene! It's definitely so, so ugly. I'd say is one of the ugliest because of the heavy themes. Fun act, I just rewatched the whole ysblf here in the US on the Peacock platform and it doesn't have the scene after, when they're on Daniel's bed and he's breathing heavily nd all that. Idk why's that, but I definitely want to rewatch the full uncensored versión again lster

The "date" escene is bad, but I don't think that anything there ((except the sexual harrassment, obviously)) makes me uncomfortable. Daniel quickly detected a golddigger with Princess delusions even though she's pretty pathetic, so he popped her bubble. She wasn't going there with a genuine desire of getting to know Daniel. She simply wanted a walking ATM, and Daniel knew that. She was just looking for a plan B in case her "relationship" with Mario didn't lead to economic comfort. (((You gotta be smart even to golddig, ppl lol)))

But THAT escene, when Patricia goes to Daniel's place to basically beg forgiveness, and Daniel takes advantage of it is so, so ugly, uncomfortable, and raw. We are presented a very human and vulnerable Patricia in a way that we didn't get to see much. We didn't see a walking comedy skit like she later became, but an actual woman who fell so hard that she's now having to accept being coerced into sexual favors because otherwise she'll be consumed by poverty. It's a very sad and human story. And yes, we know Patricia acted very wrongfully by damaging the computer, but that's nothing compared to what Daniel made her pay.

Daniel liked to humiliate people, especially those from whom he could get a reaction, like Armando and Patricia. Notice he barely ever bothers Mario, for example? Or Hugo? Sure, he gives poisoned comments to almost everyone, but you can tell he likes to particularly humiliates those who won't take it lightly and will break easily OR pretend to be more than they are ((ironic considering this dude conskders himself classy, rich, and smart and we know he isn't lmao)).

In any case, Patricia was the perfect target as she fits noth categories anyway, and he chose to humiliate her to the biggest degree in that scene when he sends her away. He is saying she is useless but for sex. That all she is and can ever be for a man like him is momentary fun. That all she prides herself in are mere facades and delusions and there is no value on her but her body. And of course, he's told her this before, but in this scene he actively demonstrates it.

The characters' backgrounds are somrthing that we really needed! Patricia is one of those characters that as the novela progresses it's easy to forget how real and human her problems are, and it's understandable the audience has that perception. The novela took her extreme poverty and made a joke out of it. But she really fell low due fully to her ego. She was coerced into sexual favors, and later basically sells herself to Nicolás for the money for her car. She goes so down to the point she doesn't eat for days. Her fridge is empty, she has no electricity some days, cold water. And sure, it's a grave that she keeps digging deeper and deeper with every idiotic decision; a hell of her own creation, but a hell none the less!

My guess for Patricia's past has always been that she was born into extravagabt luxury, not just money. Either her mother was similar to her in her grandiose and vain ways and instilled that mentality on Patricia, or maybe she died when Patricia was too little. Her dad definitely seems the kind to be trying to supply every single materia thing. Perhaps this was his way to fill the void that her mom left in her. They seem to get along, tho. We see her calling him all the time tk tell him good and bad things happenjng in her life, so we can say they're pretty close, but with firm boundaries from her dad's side. I imagine she lived on his expense for a long time and he's now done with it.

Thank you for the ask🥰🥰

[warrioreowynofrohan]

For the fanfic director’s cut: ⭐️⭐️⭐️

YAY thank you!! Do I get to take this as three sections? I’m gonna take it as three sections.

The first one isn’t really a section, it’s the title of The Castaway, which I kept expecting/wanting to be asked about but never was. I finished the fic without having yet thought of a title and this one came to me as a melded reference to a combination of Calvinism, Cowper, and Victor Hugo (combined with the imagery fitting well with Maglor spending millennia wandering the shoreline).

The word “castaway” is connected to the Calvinist concept of predestination, referring to a person predestined to damnation; it shows up in a fair amount of 1800s English literature, including the Brontës. It's also the inspiration for Cowper’s poem of the same name (people may recognize from the 1995 Sense and Sensibility, where Edward’s emotionless reading of it frustrates Marianne).

Obscurest night involved the sky, The Atlantic billows roared, When such a destined wretch as I Washed headlong from on board Of friends, of hope, of all bereft, His floating home for ever left....

No voice divide the storm allayed, No light propitious shone, When, snatched from all effectual aid, We perished, each alone: But I beneath a rougher sea, And whelmed in deeper gulfs than he.

There's a scene of remarkably similar imagery in Les Misérables, as a symbolic evocation of society casting off the convict.

A man overboard! What matters it! the ship does not stop,. The wind is blowing, that dark ship must keep on her destined course. She passes away... He implores the blue vault, the waves, the rocks; all are deaf. He supplicates the tempest; the imperturbable tempest obeys only the infinite. Around him are darkness, storm, solitude, wild and unconscious tumult, the ceaseless tumbling of the fierce waters; within him, horror and exhaustion. Beneath him the engulfing abyss. No resting place.... The sea is the inexorable night into which the penal law casts its victims.

This all exists in the context of the abundance of Christian hymns that describe salvation as being saved from shipwreck:

I was sinking deep in sin, far from the peaceful shore Very deeply stained within, sinking to rise no more But the master of the sea heard my despairing cry From the waters lifted me, now safe am I! Love lifted me, love lifted me When nothing else could help, love lifted me Love lifted me, love lifted me When nothing else could help, love lifted me!

So, all of that came together to feel like suitable symbolic associations for a fic that is oriented around the question of at what point, if ever, a person can be considered irredeemable, and about the nature of grace and of hope.

For a second one, I'm going to pick the end of Raised by Wolves. This is in one sense kind of the opposite of the The Castaway, in that it ends with Elrond not forgiving Maglor; but that's not exactly it.

The entirety of Raised by Wolves is about Elrond working through his complex and conflicting feelings about Maglor and his upbringing; the way that Maglor separated him from his family and, by his very care and fostering, alienated him from being part of the culture that he truly identifies with, that of the Sindar.

The issue is not one of Elrond being too angry with Maglor to forgive. The issue is that that forgiveness would need to come from Maglor being willing to hear and understand and acknowledge Elrond's emotions and pain in all their complexity, and let that conversation be about Elrond's feelings, not his own. And Maglor's not willing/able to do that; he's still focused on his own feelings and his own guilt.

Maglor's formed his own idea of what he would hear from Elrond. And because he's not willing to open himself up to that conversation, he doesn't find out that he's not going to hear that, and that instead he would have heard something that was painful in an entirely different way. Elrond's sentiments about the mix of good and bad in that fosterage involve very different things than Maglor's, things that Maglor has never considered. Maglor's guilt is centred on the obvious - that he killed nearly everyone Elrond knew, separated him from his family, and made his life far more dangerous. The idea that raising him as a Noldor - something Maglor couldn't help doing, as it permeates everything he knows - was a wrong, and that is something it's harder for Elrond to deal and forgive with than the more obvious wrongs, is something that hasn't even occurred to him. Having that conversation is something that would be good for both Elrond and Maglor, but one of Maglor's basic personality flaws is conflict-avoidance, and he can't bring himself to open himself up to it.

For a third one - this is going to be more of a confession. Gnawing Itself In Bitterness is the first fic I ever wrote, and is very short (less than a thousand words), about Fëanor in halls of Mandos brooding on how everything is everyone else's fault (the Valar, Fingolfin, Maedhros...). It basically evokes why I have trouble imagining Fëanor ever leaving the Halls - not because he's been sentenced to never leave, but because he's stuck in a resentful, self-deceptive spiral that will never acknowledge he could have been wrong.

It's also pretty much taken directly from C.S. Lewis' The Last Divorce, something I didn't realize until years later when I reread the book and noticed with a shock that I had echoed Lewis' depiction of Napoleon Bonaparte in the afterlife so closely (at least, in that the fic started and ended with "It was all the fault of the Valar..." and continued in that tone throughout) that that must have been my subconscious inspiration:

"What was he doing?" "Walking up and down - up and down all the time - left-right, left-right - never stopping for a moment. The two chaps watched him for about a year and he never rested. And muttering to himself all the time. "It was Soult's fault. It was Ney's fault. It was Josephine's fault. It was the fault of the Russians. It was the fault of the English." Like that all the time. Never stopped for a moment."

Thank you so much for this opportunity to ramble about my stuff! <3

[dolphin1812]

Hugo’s choice to describe both the woman who fires Fantine and the woman who teaches her how to live in poverty as “spinsters” indicates that there are parallels between them. The former is “full of the charity which consists in giving, but not having in the same degree that charity which consists in understanding and in forgiving”, while the latter, Marguerite, is “pious with a true piety, poor and charitable towards the poor, and even towards the rich.” I think what we’re once again seeing is the debate over the place/value of charity. The woman who fired Fantine is praised for her charity - that is likely what convinced Madeleine to hire her - but as her charity is limited by her idea of who is “deserving,” it can never truly have that great of an impact. In contrast, Marguerite is willing to help everyone. As we know from the latter half of this chapter, Fantine is scorned by the rest of the townspeople, so interacting with her could be risky. Marguerite, however, cares more that there’s someone in need, making her charity more impactful. At the same time, Marguerite is poor herself. While this may be exactly what gives her solidarity with Fantine, it seriously limits her ability to change her situation. It’s true that without her, Fantine wouldn’t have been able to survive after losing her job. But it’s also true that Fantine’s health is constantly deteriorating (her cough is getting worse) and that, even with all of the time she spends working, her payments to the Thénardiers have become irregular. Charity is wonderful, but only social change and a real support system could help Fantine.

This is less direcly related, but I’m fascinated by the number of women in this book who don’t have husbands, given the expectation for women to marry. Some of them, like Mme Victurnien, are widows, but many of them (Baptistine, the two “spinsters” in this chapter) simply never married. To some extent, it’s possible this is simply a realistic representation of France at the time. After years of war, it wouldn’t be surprising if many women lost their husbands either during the Revolution, one of the wars relating to it, or during Napoleon’s campaigns, for instance. These women would also be more directly vulnerable to poverty. We don’t know how much Fantine was paid while she worked at the factory, but afterward, she makes 12 sous a day, which is less than what Valjean made working on his way to Digne (and that’s even after he was paid half as much because he was a convict). Consequently, they’re less likely to be able to support themselves, as their salaries are very low and, if they don’t have a male relative to provide for them in the way that Baptistine does (and that Valjean’s sister did, although poverty still caught up to her), it’s very hard to live off of what they earn alone. Additionally, these women would be more likely to work for that same reason: they need the money if they don’t have a husband who can work. And on top of that, their behavior in relation to men is constantly scrutinized. Even their titles - Madame, Mademoiselle - automatically indicate to us if they have ever been married. Hugo himself pointed out the difference in status accorded to women based on marriage and motherhood while describing Baptistine, and that’s certainly at play here (although without one, the other isn’t given value; otherwise, Fantine would be much more respected as a mother). As an unmarried woman who hasn’t been in town long enough to establish “respectability” in the same way that, say, the woman running the factory, has, Fantine’s behavior in relation to men remains what is used to condemn her (the idea that she had a relationship with a man that left her with a child outside of marriage). For once, this horrible treatment of women is actually not on Hugo, but it’s very frustrating to read about.

[eletricheart]

I miss you

(Mother Miranda x fem!reader)

*image creds to the owner

Word count: 724

I gave the reader a name at the end, she's called Elizabeth (Eliza for short).

I got this idea from an specific scene from the book The Seven Husbands of Evelyn Hugo. It's a few letters exchanged by Miranda and Eliza. Just angst, sorry.

ps: not proofread, sorry for any mistakes.

----------------------------------------------------

(1898 - age 8)

It was a sunny afternoon at the village. You and Miranda were hiding near a cave to read this new book supposedly about an old kingdom named Camelot.

You were sitting side by side, with you doing the reading and Miranda resting her head on your shoulder.

"Is this all true?" Miranda asked.

You paused the book and furrowed your brows. "I'm not sure."

She lifted and tilted her head in confusion. "Then, why are you reading it?"

You smiled. "For fun."

Miranda pouted. "I do not understand you."

You laughed and shook your head. "It's hard to explain. It's like there's no logic, you just find a character like you, relate to them and read it to the end. The reason I'm reading is to find out what happens to Merlin, and Arthur obviously."

Miranda huffed. "How could you relate to an elderly magician?"

You laughed. "Physical characteristics aside, even though he is different from everyone else, he still found true friendship. I suppose I like that." You responded with a shy shrug.

She slowly nodded, deeply in thought. "Can I be Arthur?"

You smiled. "Of course, we'll always be best friends."

𓄿

(1905)

Hi,

I apologize for leaving so suddenly. Father has forbidden me from seeing you ever since that night, and only a few days ago he decided to move to another town. My brother, Luke, said he would help me with the letters. After all, father can't find out about this, I don't know what he would do if that happened.

I'm sorry again, I hope you can forgive me.

Your magician,

Merlin

𓄿

Hello,

My dear, I never blamed you for leaving, you have told me many times of your family. Thankfully, mine does not care for me, therefore I am still "free".

I am truly glad your brother has decided to help with the delivery. My day brightens with news of you, even though nothing compares to having you by my side.

How is the new village? awful?

Your highness,

Arthur

𓄿

Hi,

To answer your question, yes the town is awful. Father has not only pulled me away from you but also forbidden me from leaving the house without him, as if I would run away. (I would)

What truly pains me the most is not seeing you. These past few months have felt like a decade without you here.

I wish I could see you again.

Your lov best friend,

Merlin

𓄿

(1909)

Hi, best mother of the world

My brother just brought the news, I'm so happy for you. I already adore the child. Eva is also a beautiful name. Was it inspired by the bible? and you said you didn't like fiction.

I've been trying to visit you the town. Things in my house have been calmer since Ew Edward arrived. I believe they're trying to arrange my marriage.

please save me

Your elderly,

Merlin

𓄿

Hello,

Eva is such a blessing, it is impressive how something this perfect came out of that disgusting man. Unfortunately the name was taken from that book, his family is religious.

I have also been saving some money for you. I promise we will see each other again.

Yours truly,

Arthur

𓄿

(1910)

This is Luke.

I am sorry for skipping the introductions, but this matter was urgent and I don't have much time. William saw your letters, I tried to defend my sister but once Edward interrupted I knew I couldn't win against them both.

They sent her away, I don't know where, and I'm sorry for that.

I tried recovering some of her sketches but they burned most of it, I only got one.

For what it's worth, she seemed to really love you.

From: Luke

𓄿

(unsent)

Dear Miranda,

Mira,

Dear?

Hi,

This letter is already starting very badly.

Things are weird in my house, father has been more observant than usual. Is it odd that I don't care?

I met this merchant, well, his son, duke. They said I could accompany them to our town. Fantastic, right?

I'm so happy to see you, I've missed you terribly. And I must meet little Eva. and steal her

See you soon ♡

I love you, Mira

Yours forever,

Mer Eliza

𓄿

(1919)

(unsent)

I miss you.

Please be alive.

I will find you.

----------------------------------------------------

masterlist

[devilofthehounds]

God Eater 3 Character Novel | Beginning of a Vow: Chapter 4

[image id: A novel cover. Hugo Pennywort from God Eater 3 is leaning against the bars of a prison cell. He is holding up his hand and looking at one of his armlets as if reminiscing. On the other side of the bars is a faded image of a young Hugo looking off into the distance. The text, when translated into English, reads “God Eater 3 Character Novel | Chapter 1: Hugo Edition | Beginning of a Vow”. /end id]

This is a fan translation. Original text here.

1 | 2 | 3 | 4 | 5 | 6

On their first mission, they disobeyed all orders, rushed head-on into a horde of nearly a hundred Aragami, then returned alive in triumph, having completely contained the Aragami.

Luca and I accomplished something that would astound any God Eater. Before we knew it, the guards had started calling us the "Mad Dogs".

I wasn't sure if I'd ever forgive the guards, but it was also true that they had saved my life, and that I had no choice but to rely on them to survive.

I would continue to use them until, one day, I regained my freedom.

That was my tentative conclusion.

Influenced by our example, more and more of the other kids in the prison refused to give in to the guards. Before we knew it, a strong sense of solidarity and an atmosphere full of laughter were born in the prison.

Several months passed following that first battle...

We were training one day. During a break, someone approached me and Luca.

"Yo, Hugo, Luca! Hero coming through, make some room!"

He plopped himself down between me and Luca, tousling his shaggy blonde hair.

"...Hey, Din. Punch a guard and get thrown in the detention cell again?"

Din Pennywort—an AGE from a different block who was a little older than the rest of us.

He was known for being a maverick, always getting into fights with the guards.

"Heroes are supposed to send the bad guys flying, right, Luca?"

"...It was to protect your friends, right? I think that's pretty cool."

"Ahahaha! I knew you'd get it!"

Din smiled heartily as he put his arms around our shoulders. Training was one of the few times when AGEs were unrestrained.

"What do you want, Din? We don't have anything to talk to you about."

"Easy there, I'm not looking for trouble. Just hear me out, little Hugo."

"Yeah, right!"

I shook off Din's hand as he pinched my cheek teasingly. Then—

"Come on, Din, slow down! Hugo, Luca, mind letting me explain?"

A shorter boy came running after Din, his long black hair swaying behind him.

Oulu Pennywort—Din's shadow. The two were always joined at the hip.

Despite his unreliable atmosphere, he seemed to be a skilled fighter, teaming up with Din to defeat Aragami plenty of times.

In contrast to Din, Oulu wore a small but wry smile as he approached us.

"I'm just going to ask you straight up, alright? ...How would you feel about joining up with us and starting a rebellion?"

I couldn't believe my ears.

It was surreal to hear someone as mild-mannered as Oulu say something like that with a smile on his face.

"What?! A rebellion...?!"

"Shhh! Shhh! We don't have a lot of time, so just listen."

Oulu kept his voice low as he listened for the guards monitoring our training.

"During a mission recently, we found some small radio units."

"There's a trio of brothers in our block, and the youngest one is a whiz with machines. He's really young, but he was able to fix them just like that."

"The guards haven't found out yet. This way, we can secretly intercept their transmissions, as well as communicate with AGEs in other blocks."

I felt my heart pound slightly.

If it were true, it would be possible to strategize amongst only the AGEs of the Port.

"One of them is hidden in our block. We'll discreetly give you another one so we can communicate in secret and gather materials for negotiations."

"Negotiations? With who?"

"We heard that there are some people looking to open up a new route around here soon. Once it's safe, people from other Ports might start passing through on a regular basis."

"If we get the chance, we might be able to contact those people and sell them confidential information, or even our own talents. If they find out we're being treated badly, they might be able to help us."

I couldn't help but look over at Luca.

There was a possibility. At the very least, it seemed like a realistic plan with a realistic chance of success.

"We're still working out the kinks, but in order to pull this off, we'll need a force bull-headed enough to go toe to toe with the guards."

"That's why we decided to first consult the prison's rising stars: the Mad Dogs! What do you think? You on board?"

Din and Oulu were smiling happily, like children playing a prank.

It was an expression I hadn't seen in the prison in a long time. There was a certain hope in their eyes.

"...Sounds exciting. Sure, I'm on board. How about you, Luca?"

"Yeah. I want to help, too."

"Alrighty, let's get started! Hugo, I'll get right to it—Hrrah!"

The next moment, I was sent tumbling by Din's headbutt.

"Ow, that hurt! What the heck, Din...?!"

Oulu hurriedly intervened.

"Wait, Din, let me explain first! Sorry, the radio's hidden in the detention cell. We couldn't bring it to training, so it's the only way to get it to AGEs in other blocks..."

"That's the gist of it. I'm going in with you, so don't hesitate to hit me back, Hugo!"

"Tch, so that's what's going on... Alright, then. I'm gonna send you flying!"

The training area began to buzz with excitement as a loud fight broke out.

"H-Hey, you can just pretend! L-Luca, say something!"

"Hugo, get a running start, then hit him."

"Why are you encouraging them?!"

Soon after that, Din and I were quickly seized by the guards and thrown in the detention cell as planned.

"Tch... I'll remember that, Din..."

"Heheh, even if you don't, I'll remember that dopey look on your face when I first hit you."

With that, Din laughed and threw himself back on the hard bed.

Sighing as Din casually pointed under the bed, I laid down on the cold floor.

Indeed, there was a small, black box down there.

This could lead us into the future.

A place where you could do what you want, how you want... with your own will.

A rebellion conducted by children. For the first time in a while, I started to feel excited.

I closed my eyes and waited until nightfall, when the guards would be gone. Time passed.

"...Hey, whatever happened with all that talk about selling one of our AGEs?"

"Ah, right. There's a Port that comes knocking whenever they hear about a Grade-A AGE. A wealthy Port called Baran."

"That sounds good. If we sell his partner, maybe the Mad Dog will quiet down a bit."

I felt a sudden stir in my chest as I heard the exchange coming from outside.

Din sat up, too, and looked at me for a moment. We rushed to the bars together.

"Hey... Hey! What were you saying just now?!"

"Hm? ...Geez, you're in detention again?"

The guards turned around, smiling menacingly.

"I feel kind of bad for you. If you hadn't been such a stupid dog and got yourself put in there, you and your little friend could've spent one last night together."

I felt a chill go down my spine.

"No... No way... You're lying..."

As the guards walked away cackling, the hatred I once felt flared up again.

Luca was going to be sold? For the convenience of selfish guards? To make a quick buck?

It was too sudden. It didn't feel real.

But I knew this empty feeling was a sign of despair.

"Hey, wait... I said wait, damn you! You... You're going to take everything from me again?!"

I yelled frantically towards the outside of the detention cell.

But to the incoming guards, it probably only sounded like the baying of a wounded dog.

Din clicked his tongue and kicked the bed in anger.

"Those guys are just nasty... This is bad. If we rebel and he gets sold, it'll break everyone's hearts. If that happens, then our plan... Dammit!"

I sat shoulder to shoulder with Din, staring into nothing as my thoughts started moving faster and faster in my head.

Not again—I didn't want to lose another friend.

He was the hope I'd finally found in the darkness.

I didn't care what it was; I grasped for anything—anything—that could turn this situation around.

I clenched my fists so tight that my fingernails dug into my palms.

Suddenly, an alarm rang out through the Port.

"...What?! There's a Vajra on the route?!"

Raising their voices, the guards all ran at once.

"Vajra..."

Taking advantage of the commotion, Din took out the radio and connected to Oulu, who was waiting on the other end.

"Hey, Oulu, can you hear me? What's going on?!"

"It's really bad. A large Aragami—a Vajra—showed up where they're planning to put the new supply route! It's been blocked off, and the guards are in an uproar because the whole plan might fall through."

It seemed the route that was supposed to be profitable had now become unusable.

Amid the rapidly changing situation, my mind quietly connected possibilities one by one.

Profit. Route. Value. Large Aragami. And AGE—

"Tch, the guards are coming back... I've gotta cut you off, Oulu."

A pair of guards walked by while discussing countermeasures against the large Aragami.

I turned to them and called out.

"Hey, that Vajra... We just need to get rid of that Aragami, right?"

The guards stopped and looked at me blankly.

"Once that Aragami's gone, you'll be able to open the route and make a profit, right? Your money... I'll earn it."

It was a gamble, but it was the only way to make the most of the situation.

"I'll defeat it. Whatever Aragami come, I'll defeat them all. In exchange... there won't be any more talk about selling Luca!"

"Idiot... Don't make it sound so easy, brat! It's a Vajra. All you'll do is die a dog's death."

At that moment, Din stepped forward next to me.

"Then shut up and eat the loss, asshole. Hugo and I will take that Vajra down. Maybe sending a couple of dumb kids will get the job done, right? Take the bet."

"Din, you..."

"Two of your strongest AGEs take down a large Aragami! And you get a new route to boot! It'd be way more profitable than going to the trouble of selling one lousy Grade A!"

Din and I seemed to be on the same page.

The tension grew as the guards remained silent.

There was almost no chance of success. But if you didn't do anything, you wouldn't get anything. You wouldn't protect anything.

That was a truth deeply engraved in our hearts as AGEs.

In the suffocating atmosphere, suddenly—

"...Hugo, are you going to fight?"

Somehow, Luca wandered up and approached me.

"Luca?! What are you doing here?!"

"...Since you and Din are here in the detention cell, I figured it'd be easier to talk if I joined you, so I took a swing at one of the guards."

Beside Luca, a guard stood abjectly, holding the back of their head.

Next to me, Din doubled over with laughter. I faced Luca across the bars.

Had he already heard? That he was going to be sold?

Luca would probably try to stop me, say there was no need to do something so reckless for his sake.

But even if he said something like that, I—

"Hugo. Are we... going to be separated?"

I gripped the iron bars and squeezed tightly, steadying my voice as I answered.

"...If we're not strong enough, we might be..."

"Alright. Then, let's fight."

Luca smiled gently at me like he always did, to the point where I started to wonder if he really understood the position he was in.

"If it's just you, I'm sure you'll be reckless again. So, I'll be reckless with you. That works, right?"

He usually had a habit of being absent-minded, but once he started talking, he would never give in.

That was why. His words... they always gave me courage, even when the anxiety in my heart threatened to crush me.

Din, who seemed to be wholeheartedly enjoying himself, lined up next to us. Together, we turned to the guards, our eyes hungry like dogs.

"We'll win, even if it kills us! So put us to use!"

Translator's Note

[doberart]

If you don't mind, here are some Space Pirate AU questions:

Since humans are seen as weak, did Henry ever experience bullying when trying to become a ranger?

How did Linda and Henry react when finding out one was a pirate and another a ranger?

Alongside that, how did Hugo feel upon seeing the man who took out his eye?

Do, Henry, Kinda and Boris have favorite song(s) that come from Earth?

1. Oh yeah, he experienced a lot of that, unfortunately. Constantly told he should go back home to earth and that he doesn’t belong. But he proved them all wrong by working hard and becoming a Ranger Captain.

2. They were definitely shocked and thought this is where they would have to part ways, but they were just too in love. So instead they kept their relationship a secret. Only Henry’s closest companions know about him being married to Linda.

3. I believe in Space Pirates that Hugo has moved on from Henry taking his eye out. Bendy, on the other hand, is still quite mad at him. Henry apologies profusely to Hugo and they both forgive him.

4. I’m sure they have favorites, but off the top of my head I’m not sure which ones in particular, I’d need time to think on it. I know Boris and Linda absolutely love the Earth music though. :)

[nocturnalazure]

9, 14, 16, 21 and 25 for characters of your choice 😊

Thank you so much ❤️

9. Do you have a specific lyric or quote which you associate with your OC?

I can't do an ask without answering at least one question for Laurie so here it is. ;p There are many lyrics that remind me of him so... I'll do a mashup! (kind of emo because well, Laurie is emo)

In spite of how the world decides to see my life Would I still have a chance for us to say goodbye Over and over again If I decide to burn instead of fading out I still would like the chance for us to say goodbye Over and over again

There is whiskey in the water And there is death upon the vine And there is grace within forgiveness But it's so hard for me to find

It's always darkest before the dawn And that one thing will keep me going More than you will ever know In the eye of the storm

14. How does your OC want to be seen by other characters?

Anh believes that it is essential for her to appear professional. She puts a lot of pressure on herself to be respected for her skills and brain first and foremost. She would prefer people to forget that she is a woman at all. She is very confused by Laurie's manners towards her and doesn't know how to react (other than by scowling...) because he treats her as an equal and as a woman. That fries her circuits.

16. What is your OC's pain tolerance like?

Hugo actually has a pretty low tolerance for pain. Granted, as a vampire, it's quite difficult to hurt him but that would completely throw him off. He believes himself invincible and is not used to physical pain AT ALL, so he's likely to blow things out of proportion like a real drama queen.

Also, if you hurt him, you'd better run because as soon as he gets over it, he's going to fucking crush you.

21. Does your OC have any illnesses or disorders? How do they handle it?

Well, the most spectacular is of course DID in Eloise, and because of her powers, it manifests quite dramatically. Vampires are not doing very well mentally in my story: Tristan has PTSD, Hugo suffers from sociopathic tendencies, Eve had Stockholm syndrome...

Mortals fare no better, mind you: Ash suffers from social anxiety, both Laurie and Romeo have general anxiety and depressive episodes, some characters had cancer (cervical cancer for Esther, stomach cancer for Nathaniel), Anh has primary ovarian insufficiency and bulimia,... the list goes on.

25. What is your favorite thing about your OC?

I admire Sam because she doesn't let fear dictate her decisions. She doesn't need to hide her weaknesses because she feels confident in her abilities to compensate and in the fact that no one could use them against her. She trusts in her feelings and allow them to guide her.

[seoafin]

when it comes to shiv i’m like in between thinking what happened was a better outcome for her or the shittiest one for her. sorry this is random. but like shiv didn’t intend to free kendall n roman she just did the younger sibiling thing (at least how i interpreted) and realized she couldn’t stand the idea of kendall getting it. when she rlly fucking wanted it. like she wanted it to be her or no one. especially as the only girl in a family full of boys you are never not competing like i so get her. so i think she’d rather tom have it cause it would mean by association she’d have it too. something how the only times she allowed power is through the men in her proximity idk. and i do think this in some sense is better for her cause kendall would’ve been a lose fucking cannon we constantly see him promise his sibilings stuff then rip it away from them. at least when tom is talking to hugo n asking for karolina we get a sense that they’re somehow aligned. especially knowing that hugo is kendalls dog and even tho if she just asked kendall to get rid of hugo he wouldn’t done so in a heartbeat. but that’s the thing she didn’t wanna ask. it just fucjing sucks that it HAD to be tom like i hate his ass. it sucks that the dynamic in her relationship ultimately changed like someone said she’s always gonna have an angry man in her house now. idk if tom yet is this amalgamation of her father that the general public has saddled her with cause he still has to answer to lukas n lukas told her point blank he wanted to fuck shiv n my mans just said sure dude whatver u want no it doesn’t bother me at all!! like i still tom is a pussy but i also know that money corrupts n chnages u so that very well could chnage. which is smt i think succesion banks a lot on the idea of giving u the now and letting u guess what happens in the future. i know i just sent a whole essay so i definitely care about shiv but i am to my core a roman girlie so it is kinda nice not to have a dog in this fight idk!!

SORRY THIS IS LATE I JUST SAW THIS

i actually disagree! i think shiv DID want to free kendall and also roman from the cycle of abuse and she did exactly that. i think the phrase that really sticks to mind is the i love you but i cannot stomach you quote from shiv to kendall. i think the saddest thing about it all is the fact that shiv is in the exact position she spent the entire show trying to avoid: being the wife and giving birth to a baby that will probably continue the cycle of abuse (and i think what hints at this is when roman says that shiv is the TRUE bloodline not kendall because kendall's kids aren't his). i honestly think it's a mix of the fact that she didn't want to give the position up to anyone AND she saw what it had done to the three of them. like i'm not going to say she was being entirely selfless but also i do think she loves kendall and roman. and in the ending you could say she's in a position in closest proximity to power in contrast to kendall and roman but it's not an enviable position. she's a mother and wife and that's all she'll ever be. tom is the man she wanted him to be. the man she tried to shape into. i think in a way it's a self fulfilling prophecy in regards to her and tom. also she was never going to escape unfortunately.

and YEAH i don't like tom i might even hate him but i can't even fault him every single person in this show absolutely sucks balls. Except Gerri. I forgive her crimes. She's so hot. like i can't even blame him for doing everything he could do rise to power. he's no different from kendall shiv or roman. he just didn't have nepo baby power. but yeah i think he and greg are two spineless pussies but so is everyone else LMAO

[rbb-au]

Has Narinder ever been harassed by other cult members? I would imagine not everyone would be so forgiving after he locked them in a cage and tried to kill their leader.

Lamb : For the first year and a few months later some followers were.....well..did not get along with Narinder...I really have to thank Hugo for helping and controlling the followers.

Hugo : Some times things got really bad that I have to step in mostly because Narinder can win the fights but it will not look good for him. At first I don't like him for trying to sacrifice me and others but after our Leader defeated him, all I saw was a sad person who does not know how to handle what he has just become.

Narinder : Tch...they still don't like me, I can see it in their face. Tho, it's not much anymore as there were now more newer followers than old ones. Tho, some older will try to spread the hate to new ones....it stopped succeeding.

[whentheynameyoujoy]

No, but Betty is so much better at cracking the whip than Armando ever was. Because at the end of the day, the only weapon Armando had in his arsenal was the constant yelling. Meanwhile, it took just two heartbreaks for Betty to awaken her inner Regina George.

Betty: Hey, fail-son number 5, how many beautiful women would you say there are? Roughly, on the entire continent?

Hugo: Phew, that’s an easy one. Barely any and they would fit comfortably in this room! The role of fashion is to remind women they’re insufficient, to make them gaze upon the impossibly high piedestal fit for the select few and weep! I spit on the female form, its very existence is an affront to the divine goddess of beauty herself!

Betty: Oh, so you agree that the way you as a representative of the fashion industry have defined beauty leaves the majority of people out and that we cannot afford to keep catering to that extremely tiny market segment if we want to save this company from the mountain of debts my ex-boss-slash-ex-boyfriend I totally don’t love anymore saddled it with? Uh-uh, great, so here’s what we’re going to do. We’re going to invent the Dove campaign and you’re going to do something interesting for fucking once in your career by tailoring your horrible “I’m an 11-year-old girl with her first sewing machine” designs to regular women and they’re going to be modelled by the employees of this firm you’ve called ugly for *checks notes* being too tall, too middle-aged, too poor, and too black. Oh, you’re not going to do that? Well, I guess you’re not up to the challenge, then. What was that, you are? In that case, chop-chop, bitch, the clock’s ticking.

Armando: *silent, erect, writing his millionth Please Forgive and Fuck Me note*

She really did bite off a cigar and said “who are you trying to kid, your job’s easy, the conventionally attractive models are doing all the work for you”, didn’t she.